Emmanuelle alrededor del mundo

This is perhaps the most enjoyable of e Aristide Massaccesi's EMANUELLE movies, relatively free of the sadistic excesses of more extreme installments such as EMANUELLE IN America and EMANUELLE AND THE LAST CANNIBALS. As in the previous episode, EMANUELLE AND THE WHITE SLAVE TRADE (a/k/a VIA DELLA PROSTITUZIONE and at least half a dozen other titles), our intrepid girl reporter (still played by statuesque Laura Gemser who hails from the isle of Java in the former Dutch Indies) is hot on the trail of an international white slavery ring.

Having said thanks to the lorry driver (US adult superstar Paul Thomas) who picked her up naked in San Francisco harbor in her customary fashion, she bumps into old friend and colleague Cora Norman (German nudie starlet and later middle-aged Queen Mum of Spaghetti Hardcore Karin Schubert) who has found a lead to the gang's whereabouts in Rome. Before she can go check this out however, Emanuelle's editor demands that she'd do an exposé on some trendy Indian guru (exploitation mainstay George Eastman a/k/a Luigi Montefiori) in sunny Bombay instead. This makes for the best (and funniest) part of the movie as bored housewives from all over the world flock to the temple to experience the guru's heavily hyped "prolonged orgasm" techniques. Naturally, the guy turns out to be a fraud as Emanuelle soon learns when she makes love to him and he turns out to be a touch, well, premature !

In Rome, Cora gets beaten up and raped as her investigations start to turn up a bit too much in the way of damaging information as Emanuelle allows herself to be picked up by a pair of local lover boys who deliver her to the lair of the evildoers. Luckily, she had just met some virginal puppy dog (played by Claudio Alliotti who would go on to star in Masuo Ikeda's extraordinary DEDICATO AL MARE EGEO) mere minutes before and asked him to follow her on his Vespa and inform the cops.

Hong Kong and wicked Chinamen are next on the agenda, including some spectacularly tasteless (but hilarious) business involving strapped down naked women with various animal species, fortunately with appropriate comeuppance for their tormentor, before we're off again to downtown Teheran for sheiks and harems.

Capturing their target at this last stop, Emanuelle and Cora learn that women's rights are still trampled on their N.Y. home turf as well when they're invited along with an assortment of senators and their entourage for the humiliation of Miss Ohio (hardcore porn actress Juliet Graham) at the hands of homeless bums.

Even though most of the film's gorgeous female cast gets roughed up at some point, Massaccesi manages to keep the tone surprisingly light, helped by the furious pace with which he rushes through the often nonsensical proceedings, making this the cinematic equivalent of the sleazy adult comics that were quite popular at the time, in their own way unassuming precursors to much of today's manga output. Sex is quite strong for soft core with fleeting hardcore footage spicing up the orgy scenes, none of it involving Gemser though who acts as haughtily impervious to the tawdry shenanigans as ever, adding an arbitrary touch of class in the process. Italian exploitation veteran Ivan Rassimov is pretty much wasted as diplomat and do-gooder Malcolm Robertson who falls in love with our flighty heroine but never manages to get into her pants (on those rare occasions she's actually wearing them !) due to conflicting schedules which tend to find them at opposing sides of the world.

Good cinematography by Massaccesi supplies surface gloss (they were ripping off a "très chic" French sex series, after all) and Nico Fidenco's infernally groovy soundtrack bumps 'n' grinds along with the cast. So let me leave you with the lyrics to the unforgettable (resistance is futile) theme song, all together now : "Let's take a picture of love !"

These 70's "Black" Emanuelle films from Joe D'Amato are no blockbusters but they sure can be enjoyable cheesfests and certainly have a huge following. Many guys like these just for the eye candy of Laura Gemser (can you blame us?). I personally like them because they ARE cheesy. Cheesy can be fun. But some people are dissatisfied with cheesy 70's Euro films if they aren't Oscar material. These are an acquired taste. The best of them being EMANUELLE IN AMERICA (the uncut import version only not the old VidAmerica release) and EMANUELLE AND THE LAST CANNIBALS (for fans of sex/horror). And FYI these films are Italian, but most of the cast are in fact speaking English. I still can't understand why their voices were re-dubbed unless it was to cover up some of the actors heavy Italian accents.

Once again, Laura Gemser stars as sexy reporter Emanuelle, whose latest assignment takes her to India where a Tantric sex guru (George Eastman) claims to have discovered the secret to an everlasting climax. Although the guru proves to be a fake (he can't hold back forever with our heroine on the job), the feature leads the intrepid newswoman to discover the existence of a white slave ring, a scoop which takes Emanuelle bumping and grinding her way around the world, before returning to New York to find an even more shocking story involving top US politicians.

Although Joe D'amato's Emanuelle Around the World isn't as notorious as his earlier sleaze-fest Emanuelle in America, never quite managing to match that film's gruelling faux-snuff footage for sheer nastiness, it still packs a punch with hardcore sex footage, several non-explicit but still fairly harrowing gang-rapes, fun with fruit, and one particularly jaw-dropping moment in which a leering Chinese man introduces a bound, naked woman to his pets: a snake and a randy Alsation dog (Fido is so pleased to make her acquaintance, he gives her his bone).

Of course, sultry star Gemser never gets involved in any of the hardcore shenanigans herself, preferring only to actively partake in the usual assortment of simulated sex acts for which she is renowned: lesbianism, soft-core coupling and self-gratification. In addition to allowing Gemser to romp with almost everyone else in the film, the erratic story also provides D'amato with the opportunity to pad out his film with dull travelogue style footage and boring incidental characters (Italian exploitation favourite Ivan Rassimov is completely wasted in a pointless role). The result is a film with an unfocused and rather muddled style—easy-going and uneventful one moment, completely reprehensible the next—but one which still manages to be a fair bit of fun if you dig crazy 70s filth.

6.5 out of 10, rounded up to 7 for IMDb.

Emanuelle travels the world once again on a crusading mission to report on the abuse and degradation of women at the hands of male-dominated organizations.At her first stop in India she meets up with George Eastman who plays a guru who has discovered the secret of prolonged sexual pleasure. While at the temple she also meets gorgeous Brigitte Petronio and it's not too long before both are having hot lesbian intercourse.While at her next stop in Rome she meets Karin Schubert who gives her a lead about a white-slavery ring...Joe D'Amato's "The Degradation of Emanuelle" is not as sleazy and shocking as infamous "Emanuelle in America",however there is enough sex and violence to bring the smile on the face of any self-respecting smut peddler.The erotic scenes are mostly soft core,but there is a bit of hard core sex added for a good measure.The film is nicely photographed and immensely enjoyable.Give it a look.

Emanuelle - Perché violenza alle donne? Is a film that flirts with the illusion of investigative journalism, but ultimately becomes a grim, fragmented journey through exploitation cinema. From the moment the film begins, its tone is unmistakably sleazy, yet strangely self-aware. The atmosphere vacillates between the bizarre and the brutal, with a sense of voyeurism that's both its core theme and its narrative device.

Cinematographer Joe D'Amato (credited under his real name, Aristide Massaccesi) also handles the camera work himself, and despite the film's often sordid content, he shows a surprisingly keen eye for mood and composition. The use of soft lighting, shadow, and natural locations gives certain scenes an almost dreamlike quality, especially during Emanuelle's travels through Venice and the Caribbean. These sequences offer a strange calm before the film veers back into murkier, more disturbing territory. However, this contrast also exposes the film's uneven pacing and tonal dissonance. Scenes jump abruptly between travelogue-like serenity and shock material, leaving viewers disoriented rather than intrigued.

Laura Gemser, in the role of Emanuelle, brings her usual enigmatic poise to a character who is often thrown into implausible situations with little context or buildup. Her calm, steely presence anchors the chaos around her, and though the script gives her little depth, Gemser carries each scene with confidence. She's by far the film's most consistent performer, managing to bring dignity to a role that frequently undermines her. The supporting cast, meanwhile, ranges from wooden to wildly over-the-top. Ivan Rassimov adds some charm in a minor role, though his screen time is limited, and others drift in and out of scenes with barely any development or motivation.

What drags the film down is its reliance on shock for shock's sake. D'Amato flirts with taboo not for narrative or thematic depth, but to provoke, titillate, or appall. The inclusion of extreme content (including a sequence strongly implying bestiality) crosses the line from provocative to gratuitous. There's a difference between confronting discomfort for artistic reasons and wallowing in it for cheap effect. Unfortunately, the film rarely seems interested in exploring anything beyond surface-level depravity.

Despite all this, there is something oddly compelling about the film's rawness. It captures a specific moment in 1970s European genre cinema when anything felt permissible, when boundaries were pushed not always with purpose, but with bold, often reckless energy. That lack of polish, while frustrating, also gives the film a certain grimy authenticity.